This study aims to analyze the categories set out by Lukács in The theory of the novel. In it, try to control their concepts to facilitate understanding of the genres and literary forms for the young philosopher. Done this way, move on to an analysis of fragmented Notes
on Dostoevsky, trying to understand the disturbing end of the theory in which the author states: "Dostoevsky doesn’t wrote a romance at all." It has been with this, in order to lay bare the extent to which aesthetics and ethics are embedded in the thinking of youth Lukács. In addition, we seek to also examine the conjecture exposed in the two works in
order to capture the moments of color changes of the novel ways that, for Lukács, will culminate in Dostoevsky's work. This work, which, it seems, the foresee ability the profound changes that have occurred in the twentieth century. Indeed, the work of Dostoevsky - The Brothers Karamazov - will be considered here, based on the concepts exposed by Lukács both in The theory, the in the notes. Try to understand, therefore, as Lukács saw in the work of the Russian writer, a new way that in addition indicated that something in the real world and concrete was changing radically.